Due to its expressiveness and the quality of its execution, this unrecorded panel belongs to the major works of the Valencian school of the early 15th century. It is characteristic of the international Valencian gothic school, led by the painter Pedro Nicolau. More specifically, the fluidity in the draperies, as well as the gilded nimbuses, which are located very high above the saint's heads and decorated with stamped motives, as is the Virgin's halo in the present picture, refer to Nicolau and his studio.
Probably executed in the 1430s, this Pietà seems to be attributable to Gonçal Peris. A follower of Pedro Nicolau, he was also strongly influenced by Marçal de Sas. His work was rediscovered in the beginning of the 20th century by José Sanchis Sivera ('La catedral de Valencia. Guia historica y artistica', Valencia, 1909) and Luis Tramoyeres ('Los artesonados de la Antigua casa de la ciudad de Valencia. Notas para la historia de la escultura decorativa en Espana', Archive de Arte Valenciano, Valencia, 1917). Both authors mentioned two different artists, active in Valencia in the early 15th century, Gonçal Peris et Gonçal Peris Saria. Later, Leandro de Saralegui considered that there existed only one artist ('De pintura valenciana medieval. Gonzalo Pérez', Archive de Arte Valenciano, Valencia, 1957), which was refuted by Joan Aliaga Morell ('Els Peris i la pintura valenciana medieval', Valencia, 1996). Morell distinguished two painters: the former, Gonçal Peris, had painted the Altarpiece of saint Clement and saint Martha (Cathedral of Valencia) in 1412 (this artist is probably the author of our Pietà); to the latter, Gonçal Peris de Sarria, is attributed the Altarpiece des Marti de Torres (Valencia, Museo san Carlos, circa 1435-40). This theory is nowadays generally admitted, though still argued. Aother attribution to Jaime Mateu has been suggested. Mateu, documented in Valencia between 1402 and 1452, was a close follower and the heir of Pedro Nicolau. He was often mistaken with Gonçal Peris, an artist with whom he collaborated. Thanks to the work of José Pitarch, it is now possible to identify Mateu, i.e. in the long and thin fingers which recall that of the Christ in the present picture.
We are grateful to Mr. Santiago Alcolea, director of the Instituto Amatller in Barcelona for giving his opinion on this picture on the basis of transparencies.